Brandon Patton
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Brandon Patton

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This band has not uploaded any videos



"Scene and Heard Review"

Though released in late 2004, this is perhaps one of the best indie rock records I’ve heard this year.

Brandon Patton’s clever and gorgeous acoustic guitar-driven pop songs on Should Confusion (his fourth CD release) reach in and grab you by the cockles of your heart right from the get-go with their captivating musical arrangements.

‘Counting The Paces’ (the first song) is a drunken, romantic, melodic spill from the mouth of a downtrodden man on the brink of it all, laid to a very Beatles atmosphere with shades of (dare I say it) Leo Sawyer. From the first strum of the guitar chords, you’re roped in.

‘What’s The Worst That Could Happen?’ kicks it up a notch, suddenly exploding with crystal clarity - a veritable challenge to get off your ass and give it a go (whatever the hell “it” might be).

Patton’s lyrical abilities are also noteworthy. Personable, witty, and immediately relatable, he sings of the small observations he makes around him. But he’s a looker, not a stalker.

Refreshingly original yet comfortably familiar, Should Confusion is definitely a worthwhile listen for anyone who fancies well-scripted, melodic acoustic-guitar rock. It is but a question of time before Brandon Patton is a household name.

- Liam Lahey

"Celebrity Cafe Review"

"He expresses angst, confusion and frustration with the best of them, coming out with a damn good CD."

--Michael, new pop writer, the celebrity cafe

"Emergent Music Review"

"Brandon is brilliant. He articulates emotion in words and music like no other boy with a guitar. There's a bit of everything on this album."

- Musicophile, reviewer for

"South of Mainstream review"

Brandon Patton’s latest release Should Confusion starts out as an extremely strong recording. The first track “Counting the Paces,” a very somber, melancholy song with vocal arrangements very similar to that of Simon & Garfunkel’s album Bridge Over Troubled Water, is a great mood setter. I was inspired to sit back, think and even write, while listening. The album's second track may be its most outstanding. “What’s the Worst that could Happen?” ranges from acoustic verses, reminiscent of Duncan Sheik, to full band, up-tempo choruses that bring to mind the music of Knapsack. These two songs open this album with a very full sound that encourages you to listen on...

...The songs range from happy feeling tracks, with words being rattled off in a sort of “folk-rap” way, to 60’s folk songs with old show-tune bridges... still others are purely beautiful with melodies that resonate in your heart.

The most defining attribute of Should Confusion is Brandon’s clear, warm guitar tone that really helps make the songs. There are songs that seem more heartfelt than others and those are the ones that make this album worth listening to. They are well written, well recorded and make for a great soundtrack to your day. He is a good guitar player and knows how to write a song...

Favorite Tracks:
#1 – Counting the Paces
#2 – What’s the Worst that could Happen?
#9 – Someday When We’re Old

reviewed by screenshavenoemotions
for -

""Brandon Patton is remarkably creative, sardonically funny, and very much in love with music.""

"This is what strums my strings. Free-spirited, go-with-the-flow, reckless highs and dreamy lows songwriting. Unpredictable melodies carrying teenage moodswing memories, brought to us by an unpretentious poet with an occasionally mischievous potty-mouth who has a knack for infusing minor chords here and there, suddenly turning the vibe magically ethereal.

And it’s only eight-thirty in the morning. My day is open to a million possibilities right now.

In case you can’t tell, I love this CD. I love this artist. Brandon Patton is remarkably creative, sardonically funny, and very much in love with music. The very first track, “Counting the Paces,” is a lullaby tempo with anguished lyrics of loneliness and stagnation. Through its delicate and hypnotic delivery, he makes it sound beautiful. The imagery doesn’t hurt either. “I feel like I’m covered in sand,” he breathes.

I get the idea Patton is young. Most of his songs focus on teenagers and their stumbling search for who they are. “Mo Song” is a standout, with its staccato folk storytelling about a crush on a sensitive soul. My favorite moment in this song is a brief excursion from reality as he chats with a Redwood tree, which may not have anything to do with having a crush on someone, but that’s the kind of ride you’re in for. Tangential paths. Just flow with him.

One of the most visual tracks is “Thirty-one Hundred Miles,” with intriguing percussion that sounds like the clacking of the train he’s singing about. (Hats off to Scott Kessel and his “drumship enterprise” for much of the outstanding percussion on this CD.) The shuffling delivery on this track and distorted and scratchy recordings floating in and out make this one song I would love to see made into a video.

My absolute favorite track, the one that seems to sum up everything Patton is about, is the totally spontaneous “Auspicious Moment.” Patton and his friend Anand pulled a page from one of Patton’s old journals and just started rapping the words over a chaotic drum jam. Caught daydreaming about (what else?) sex during history class, the bored teen mimics his teacher’s reprimand: “No, I don’t know the answer, and no, I have no retention.” The two crack self-depreciating jokes at their own writing, dissolve into laughter in a few places, and had me laughing out loud right along with them. Patton makes the perfect comment about this song in the liner notes: “Remember when joy was this easy?”

I remembered it a little just listening to this CD. Forget your coffee – just listen to this CD first thing in the morning and then go outside and play."

-Jennifer Layton, -

"Aiding and Abetting Review"

"Patton has that 'breathy vocals floating above neo-folk' sound down, even though Patton’s conception of neo-folk is much more Beck than, say, Fairport Covention. And Patton isn’t against letting loose and rocking out every now and then...

The production is impressive, making this album sound a lot fuller than your average one-man effort...

Just a nice, comfy set of songs."

-Aiding and Abetting, Feb 2004 issue

- Aiding and Abetting, Feb 2004

"Quotes in praise of BP"

“Patton has a literate but personable way with a lyric,
an effortless arranger’s touch, and a knack for making
you feel like you were waiting for his music to come into your life.”

-- Inkblot Magazine

"Following the twists and turns of these songs, you realize
this particular kid really does have it; he knows how to tell a story in such a way that you have no idea what's coming next, but aren't for a moment tempted to leave before the show's over."

-- Jason Warburg, the Daily Vault


“brilliant and captivating... a masterpiece of modern clever pop songwriting.”

-- Ed Docktor, Inquisitor Magazine

"A five-star album... From the lyrics, the sound of the album and even the cover art you are spared nothing.”

-- Chris Coleman,

"Quirky. Enigmatic. Skillful. Clever. Very Clever... This collection of songs is an absolute must for fans of well written acoustic guitar based songs..."

-- Embo Blake, Hybrid Magazine

"I guess what gets me angry at the music industry is that they tend to miss the gems of the world like this little album...
pick this album up now!”

-- J-Sin,

“Upbeat, laid-back, emotional, and funny, all-in-one”

-- Andy Wirtanen,

“Even more choice than Brandon's illusionary sonics and unorthodox structures are his transcendent lyrics. They share identifiable aspects of Bob Dylan’s adroitness and Steven Malkmus’ silly quirkiness to form the most memorable lines heard by any artist reviewed in Spunout Central’s Underground Archive section. In fact, this is my new favorite CD.”

-- Adam Mico, Spunout Central

“Extraordinarily impressive... tunes that just get better with repeated spins.”

(Rating: 4+++) - (various)

""Witty, well-recorded, first-rate""

This is essentially singer-songwriter music, but, it is good. Witty, well
recorded, and friendly, this should appeal to anyone who hasn't let
their cynicism overtake them. The often-clever lyrics are soulful, and
the guitar playing is first-rate. I wish you luck, Mr. Patton. (SJM) - Impact Press

"Jan 2006 Northeast In-Tune"

The singer/songwriter is a facet of the music industry that has tempted many musicians to leave their bands and pursue their own visions. However, there are few people that actually can pull this off. To be able to strip a song down to just guitar and vocals is one of the hardest accomplishments in all of music.

Enter Brandon Patton, a former member of a Boston based band that would call it quits in 2000, leaving Patton to go about music on his own terms. He would leave Boston for San Francisco , and eventually in 2004 he would wind up in New York City , and release the record “Should Confusion.” The record would create a buzz for Patton even landing him on a soundtrack for MTV’s The Real World.

His influences are listed as Elliott Smith, Aimee Mann, Eels, Wilco, and Badly Drawn Boy. And as influences for a singer/songwriter goes you don’t get much better than that.

Patton’s track “3100 Miles” has most of what a good acoustic pop song should. The vocal style is flowing, with a great production behind the voice. They sound very similar to Britt Daniel from the band Spoon, with a unique raspy quality.

The slower numbers such as “Counting the Paces” exemplifies a little more depth in Patton’s songwriting…fitting well with indie-radio, sounding very much in the vein of Nada Surf. There is also interesting guitar textures and great synth sounds that bring out a sound similar to Granddaddy, adding quite a cool undertone.
- Dan Murphy

"Ben Westhoff Underhill Downs Review"

Though his debut Should Confusion was released near the beginning of the decade, Staten Island, N.Y., singer/songwriter Brandon Patton didn’t put out his second album, Underhill Downs, until now, owing to his steady gig as bassist for nerdcore rapper MC Frontalot. Patton’s music doesn’t have hip-hop beats or sci-fi references. Rather, Underhill Downs is heavy on acoustic guitar and computer-effect driven atmosphere. The album is full of smoothly produced, heavily overdubbed tracks that vary between lovely, sad and slow (”Look Up” features a chant of “worry, sleep, worry more”) and lovely, sad and slightly less slow (on “Ashes and Stains” the narrator wonders, “When will my life start to imitate art?”). Though inspired by the unraveling of a long-term relationship, the album doesn’t trade in self-pity, and Patton often seems to be attempting to dig himself out of an emotional hole with these songs. No telling if it worked, but as art the album succeeds. (Merlin Pool Music) 4 stars out of 5

-Ben Westhoff
Crib Notes, Creative Loafing Atlanta - Creative Loafing (website)


2009 - Brandon Patton, "Underhill Downs"
2008 - Jukebox Stories: The Official Bootleg
2004 - Brandon Patton, "Should Confusion"
2000 - three against four, "Hey, Sparkle Eyes"
1998 - three against four, "Some of us are Here"
1997 - Brandon Patton - "Nocturnal"

internet airplay:

Indie Pop Rocks (SOMA FM)
BBC America
KCRW Morning Becomes Eclectic
Lord Litter's radio show
Liquid-A Radio

music placements:

"Monster Garage"
"High School Reunion"
"MTV Popstars"
"Real World"
"16 & Pregnant"
"That 70s Show"

"If You Only Knew" dir by David Snedeker
"Nerdcore Rising" dir by Negin Farsad



Brandon Patton released his third solo album, Underhill Downs, in 2009. His previous album, Should Confusion (2004) was nominated for Album of the Year by the Independent Music Awards in 2004. Patton also received a "Top Music Artist" award from the Temecula Film and Music Festival in 2005. Patton also plays bass under the pseudonym BL4k Lotus for MC Frontalot, progenitor of "nerdcore hiphop." MC Frontalot's band and its first national tour was the subject of the documentary "Nerdcore Rising" now available on Netflix.

Music Festivals:
2009 SXSW music festival with MC Frontalot
2008 SXSW film festival with "Nerdcore Rising"
2005 NXNE music festival
2004 Newport Folk Festival New Talent Showcase

Patton also performs with playwright Prince Gomolvilas in the underground theater duo Jukebox Stories, called one of the 10 best plays of 2008 by the East Bay Express.

Patton composed the songs for Love Sucks! the Musical, a Shakespearean take on the punk rock of the 1970s, which won honorable mention at the 2007 New York Musical Theatre Festival.

Up until 2000, he played in the rock band three against four, a band featured on the soundtracks to Monster Garage, That 70s Show, MTV Real World, MTV Popstars, and a host of other shows.